中世日本の瀟湘八景詩歌の叙情性

Abstract

瀟湘八景最早出現在北宋（960-1127）沈括的《夢溪筆談》之中，原為畫師宋迪所創作的一組平遠山水圖，此後亦被當作詩題流傳在宋代文人之間。八景詩畫在宋代風行一時，後輾轉經由當時往來中日的禪僧於1290年左右傳入日本，正值日本鎌倉末期。進入室町時代以後八景亦在五山禪僧、武士與歌人之間引起了風潮，留下許多歌詠八景的漢詩與和歌作品。 瀟湘八景在中日相關的研究當中並非鮮為人知的主題，傳入日本的過程、流傳、普及的相關背景與詩歌資料都已被許多先進學者整理並廣泛討論。然而瀟湘八景在日本的流行僅被當作一種文化現象看待，至於八景之於中世日本的詩人與歌人而言究竟具有何種意義則是未被深入思考過的課題。本論冀以敘景的敘情性為角度切入，探索日本詩人與歌人認知的瀟湘八景，並藉由他們透過八景所抒發的情感，來探討日本人所呈現出的八景，以及八景之於中世日本文人的意義。 第一章以本論的立足點敘景的敘情性為主軸，將中世日本著名的歌論書《爲兼卿和歌抄》及連歌論《雨夜の記》作為探討對象，分析中世日本文人在創作過程中的「心」與「景」的關係，以當時文人自然觀照的方法，進一步推知他們對於瀟湘八景的觀賞態度。 第二章以瀟湘八景漢詩為考察對象。當時在日本流傳的八景漢詩中，以宋代禪僧惠洪與玉澗的作品最廣為人知，兩人的作品亦得到五山禪僧高度的評價。因此第二章以兩位禪僧的漢詩作為中國八景的原型，並以五山抄物及五山僧人的八景漢詩為資料輔助，考察中世日本對八景的認識與認知，以及五山僧人的漢詩中所呈現出的八景境象。 第三章以瀟湘八景和歌為考察對象。八景和歌與漢詩和抄物不同之處在於，有一組名為「八景次第略之哥」的資料顯示歌人對於八景的排列順序有固定的想法。因此第三章將不同歌人所創作的八景和歌依序排列，透過敘景的敘情性來思考其順序的意義與和歌中各個風景的表現手法以及這兩者之間的關係。 第四章聚焦在敘景連歌。從三個不同時期的連歌作品，探討敘景連歌隨著時代變遷，呈現出不同的自然觀照態度。透過第四章的分析，間接了解瀟湘八景在日本普及流傳時歌人描繪自然的方法，以及歌詠八景的和歌是在何種敘景的潮流中建立及確立其表現的形象。 本論文考察結果是，日本的瀟湘八景漢詩反映出該時代五山禪僧心中對理想世界的憧憬與隱遁的志向。而八景和歌則是承自《萬葉集》以來「寄物陳思歌」的傳統，再加上該時代的自然描寫手法從靜止景物的描繪逐漸趨向帶有流動性的風景描寫為創作背景，產生了與中國八景不同的面貌，使得日本八景在不同歌人的表現下呈現出更豐富的情感內涵。 瀟湘八景自鎌倉末期傳入日本直至江戶時期仍廣為人知，前後橫跨百餘年時間。八景作為大多數日本詩人與歌人從未親眼見過異國的風景，卻成功融入日本文學與文化之中成為一個流傳久遠的主題，具有特殊意義。本論文旨在既有的八景研究中提供新的審視角度，透過討論日本八景敘景詩歌的敘情性，重新理解這八個景緻在中世詩歌文學中的意義與定位。

This study explores poetry related to “Eight Views of Xiao-Xiang”, including kanshi (漢詩, Chinese-style poetry), waka (和歌, Japanese classical poetry) and renga (連歌, classical linked verse) to delineate the adaptations of “Eight Views of Xiao-Xiang” (瀟湘八景, Shōshō hakkei) in medieval Japan (1290s-1603). While other studies mainly focus on the landscape, this study attempts to reconsider the adaptations of “Eight Views of Xiao-Xiang” by perceiving the related compositions as lyrical poetry that reflects poets’ emotions and transcends its concept as merely a scenic theme. “Eight Views of Xiao-Xiang” first appeared in China during the Northern Song dynasty (960-1127) as a theme in monochromatic ink landscape paintings, and later as a theme in Chinese poems. Along with the Zen priests from China in the 1290s, “Eight Views of Xiao-Xiang” gradually gained popularity among the Japanese Zen priests and subsequently became popular among samurai, aristocracy, and waka poets. As most Japanese understood “Eight Views of Xiao-Xiang” solely from paintings and Chinese literary texts, the eight sceneries depicted by Japanese poets were often different from the actual views. Thus, the Japanese poets transformed the cultural image of “Eight Views of Xiao-Xiang”. This study first starts by reconsidering the combination of “heart (心, kokoro)” and “nature (景気, keiki)” through poetic treatises (歌論書, karonshō) to examine the lyricism of “Eight Views of Xiao-Xiang” in Japanese scenic poetry. Subsequently, the study examines the kanshi of “Eight Views of Xiao-Xiang” by differentiating sections of verse derived from Chinese texts from those originating from Japanese poets. Chapter three draws on the order of the waka and its expressions to examine the lyricism of “Eight Views of Xiao-Xiang”. The final chapter dives deep into the transformation of expression in renga scenic verse during the Muromachi era (1336-1573) to further understand the adaptations of “Eight Views of Xiao-Xiang”, which specifically appeared in waka compositions. This study aims to provide a new perspective in the existing researches on the “Eight Views of Xiao-Xiang” in Japan to comprehend the significance and positioning of these sceneries in medieval Japanese poetry by discussing the lyricism of scenic poetry.